Have you seen this? This is absolute genius . . .
Have you seen this? This is absolute genius . . .
It’s very easy for people to forget what rock and roll really is. Look man, I’m forty-seven years old, and I grew up in Wyoming, and I stole cars and drove five hundred miles to watch Little Richard, and I wanna tell you somethin’ — when I saw this nigger come out in a gold suit, fuckin’ hair flyin’, and leap up onstage and come down on his piano bangin’ and goin’ fuckin’ nuts in Salt Lake City, I went, “Hey man, I wanna be like him. This is what I want.”
Contrary to the IMDB summary below, only two of the girls, Klara and Bobo, have no instruments (or talent). The third girl, Hedvig, is a painfully shy classical guitar-playing schoolmate recruited to teach them about music.
This movie is a joy! I don’t know what else to say. See it.
Three girls in 1980s Stockholm decide to form a punk band -- despite not having any instruments and being told by everyone that punk is dead.
IMDb rating: 7.2 (2,340 votes)
We saw Rickie Lee Jones at the Coach House Sunday night. I’ve been an RLJ fan since . . . I think it was 1979, when this young woman I’d never heard of showed up on Saturday Night Live and sang “Chuck E’s in Love”:
It might be possible to watch that now and say, “What’s the big deal? I’ve heard women sing like that.”
Not in 1979, you didn’t. In case you’ve forgotten or blocked it out or you weren’t born yet, in 1979 we were listening to Olivia Newton-John, Debby Boone, and similar lame-ass bullshit. (Or Christopher Cross, Barry Manilow . . . the male singers were equally uninspiring.)
I couldn’t have been more electrified if she’d capped off the performance by whacking the Captain and Tennille across the face with her beret.
RLJ’s style influenced a lot of singers, including some who’ve been much more commercially successful, and she really hasn’t I think been properly recognized for that.
She didn’t have a band, just played guitar and piano and sang. She sounded great, reinventing some of her best-known songs with new tempos and phrasing. As I mentioned when we saw Neil Young’s stunning solo show in April, a lot of performers hide their shortcomings as musicians and singers by adding a band, backup singers, electronics and other accoutrements, but when you’re up there all by yourself, there’s nowhere to hide. It’s organic music.
She told some stories between songs, many about living in New Orleans after moving recently from LA. Topics included voodoo ladies, fireflies, impromptu parades and neighbors who sit out on their front porch and wave to you.
The venue was sold out. That’s good. I feel like we were part of something. There was a long standing ovation at the end of the set . . . people went on clapping for several minutes even after the house lights came up, which I don’t remember ever seeing before.
Here’s the set list, to the best of my recollection:
Weasel and the White Boys Cool
Sympathy for the Devil
The Last Chance Texaco
It Must Be Love
On Saturday Afternoons in 1963
We Belong Together
Living It Up
Chuck E’s in Love
As Nietzsche used to say, “One must discontinue being feasted upon when one tasteth best; that is known by those who want to be long loved.”
Also featuring the USC Marching Band horn section . . .
The whole idea of a singer-songwriter singing the song from the heart, singing a song that means something to them and actually singing a song that’s good enough to stand up on its own without any accoutrements, without any production, without any machines supporting it, without any formulated beats, without any computer making sure that all the rhythms are justified so that everything is perfect, you take all those things away and put a great song there with a great performance, even if it’s not by the greatest vocalists in the world or the greatest guitar player or instrumentalist in the world, if that person is believing what they’re singing and it’s truly there and the song is great and the song is written from a real place, then the song’s going to resonate with anybody who wants to listen to it.
[See You in Hell is a feature by our guest blogger, Satan -- PE]
“It put a smile on my face that finally [Donald Sterling] would be unable to deny the racist allegations against him,” said Carl Douglas, a lawyer who represented former Clippers general manager Elgin Baylor in a lawsuit against Sterling.
Carl Douglas is best known as a member of the O.J. Simpson defense team. O.J. Simpson has done some regrettable things, like murdering a couple of white people, but at least he’s never made negative remarks about Magic Johnson photos on Instagram.
See you in Hell . . .
P.S. Carl Douglas the lawyer should not be confused with Carl Douglas the “Kung Fu Fighting” singer. Him, I like.
At my piano lesson tonight, I noticed what looked like a streak of blood on one of the keys. The next thing I noticed was that the tip of my right index finger was bleeding — apparently a paper cut from a sheet of music, although I didn’t feel anything at the time.
I didn’t want to ruin the piano so I stopped playing and tried to get everything cleaned up.
I asked my teacher, “If you’re playing a concert and you start bleeding, what should you do? Just keep going?”
“What if in addition to being a pianist, you’re also a hemophiliac and you might die? Would that alter your advice?”
“Are you a hemophiliac?”
Here’s the set list, to the best of my recollection. I may have some of the harmonica instrumentation wrong. He had the harmonica rack on for the whole show; some songs he played it and some he didn’t.
From Hank to Hendrix – guitar, harmonica. A good opener for this kind of a show: From Hank to Hendrix / I walked these streets with you / Here I am with this old guitar / Doin’ what I do. / I always expected / That you should see me through / I never believed in much / But I believed in you.
On the Way Home – guitar, harmonica
Only Love Can Break Your Heart – guitar, harmonica
Love in Mind – piano
Philadelphia – piano
Mellow My Mind – guitar (banjo?), harmonica. He played the Gibson Mastertone you can see in the right foreground of the photo. He said it’s a guitar, not a banjo. It sure looks and sounds like a banjo though.
Reason to Believe (Tim Hardin) – piano
Someday – piano
Changes (Phil Ochs) – guitar
Harvest – guitar, harmonica
Old Man – guitar, harmonica.
Goin’ Back – guitar
A Man Needs a Maid – synthesizer, piano, harmonica
Ohio – guitar. What if you knew her and found her dead on the ground? This hasn’t lost any punch over the last 40 years.
Southern Man – guitar
If You Could Read My Mind (Gordon Lightfoot) – guitar. A better interpretation than the original, which I’ve never really liked very much.
Harvest Moon – guitar, harmonica
Mr. Soul – pipe organ, harmonica. I’ve heard a lot of people play guitar and harmonica together. I may have even heard someone play piano and harmonica together. But I’ve never (until now) heard anyone play harmonica riffs while performing on a pipe organ.
Flying on the Ground Is Wrong – piano. Interesting story about this song: when he wrote it, he was living in L.A. at the Commodore Gardens on Orchid Ave. The Commodore Gardens is gone now. It went away when Orchid Ave. was shortened to make room for . . . the Dolby Theatre! (see map)
After the Gold Rush – piano. With a line change: We’ve got Mother Nature on the run in the 21st century.
Heart of Gold – guitar, harmonica.
Thrasher – guitar, harmonica.
He had seven or eight guitars available, several harmonicas, a grand piano, an upright piano, a synthesizer and a pipe organ.
He has an incredible repertoire of songs to choose from, his voice for some reason sounds better than ever, and he’s a fantastic musician, which you have to be for a solo acoustic performance. If you really can’t play or sing, there’s no place to hide.
Most of the guitars came with stories, related in a laconic, deadpan style. One used to belong to Hank Williams. “I got it from a guy in Nashville. Thanks to you, and people like you, I was a rich hippie. And I was able to buy the guitar.”
Two were given to him by Steve Stills. One — the one he’s playing in the photo — used to belong to a folk singer who was performing in Denver when a gunshot blasted a large hole in the front of the instrument. “That was long before weed was legalized. I don’t know if that has anything to do with it. But no one singing folk songs in Denver has been shot since it was legalized.”
My piano teacher asks me if there are any pieces I want to learn . . .
“How about . . . ?” and here I name a piece by Chopin.
“This one?” she asks and starts to play it.
“Well, it sounds quite impressive but I think if you break it down it’s just arpeggios and thirds.”
“No, it’s not just thirds,” she says and starts to play it again to show me. “And that’s with the left hand. Do you think you can play that with your left hand?”
“My left hand’s not very good.”
“So that one is too hard.”
“OK, how about . . . ?” and here I name another piece by Chopin.
“That’s the only piece that’s harder than the first one.”
“How about this?” I ask, and play a YouTube video on my phone.
“What is that?”
“It’s from a film called The Piano.”
“Is that New Age music? It’s not classical music.”
“Is that bad?”
“IT’S TOO EASY! YOU COULD SIGHT-READ IT!”
Texas Set to Execute Aspiring Rapper
Here’s an undated photo of the musical murderer:
The fact that he was an aspiring rapper seems comically irrelevant to the fact that he was convicted of slitting a man’s throat — which didn’t kill him — and then stabbing him — which did.
Some future Death Row headlines we might expect to see from MSN:
I was watching a Paul Barton YouTube video about piano practice . . . he said that when someone asked Horowitz how he’s able to play so many difficult pieces, Horowitz replied, “You just got to really want to.”
That seems like excellent advice. It’s short, just a few words . . . you can remember it without even trying to. And I think it could be applied to almost any endeavor.
Imagine someone listening to Horowitz and thinking, “Wow, that’s great! I’d give anything to be able to play like that!”
But he wouldn’t really give anything. He wants to play like Horowitz but he doesn’t really want to play like Horowitz. He doesn’t want to practice 20 hours a day and give up everything else in his life.
In any endeavor, reaching a goal often requires more than someone is willing to give . . . not more than they are able to give but more than they are willing to give.
Neil Young is playing a couple of solo acoustic shows next month at the Dolby Theatre. Tickets went on sale Monday morning, but somehow I missed the fact that they’d been available via “pre-sale” since last Friday and were all gone by Monday morning.
What a heartbreaker. Fortunately, thanks to the wonders of technology and social networks, Mr. Young and his team were able to inform me via Facebook that a third show had been added and I was able to log in and get tickets for that one.
The sold-out shows are on a Saturday and Sunday. The new show is on a Tuesday. Am I looking forward to driving in to LA and back on a Tuesday? No, but on a list of solo acoustic shows for which I’d be most willing to knock over my own mother to get a ticket, Neil Young would be second, behind Bob Dylan.
Unlike some singer-songwriters, Young also has a distinctive style and talent as a musician, plus an almost-50-year portfolio of great songs — not clever lyrics or inventive melodies, but a Neil Young song is as real as the day is long. They get a hold of you, like a meathook.
A solo acoustic performance is like he comes over to your house and picks up a guitar. Can you imagine that? Neil Young is at my house and he just picked up a guitar. “Do you mind?” he asks.
One more thought on Bob Dylan: Solo acoustic Bob Dylan is part of the iconography of America in the 1960s. I don’t expect Bob Dylan to ever do a solo acoustic show again but if he did, the significance of it I think would be second only to Jimi Hendrix playing a concert after coming back from the dead.
Well I hope you come and see me in the movies
Then I’ll know that you will plainly see
The biggest fool that ever hit the big time
And all I gotta do is act naturally